Glasgow's Independent Music Scene
(Or at least what I know of it)
by Christopher Mack
November 2002

A man plugging electrodes into a cactus to produce music - an amplified vacuum cleaner -microphones for recording bird calls - an ensemble of children's toys - instruments that play themselves - white noise - pink noise - silence.......

Welcome to the eclectic world of independent music in Glasgow. Of course not all of the music coming out of Glasgow's independent scene is challenging. Some of it has its sights set firmly on the possibility of mainstream success but the point is that here, in Glasgow, young inexperienced musicians, or simply new bands with no media profile are lucky enough to have a platform for their music.
I believe that small venues in this city have ensured the survival of a thriving independent/experimental music scene. In Glasgow there are places where people can create, and participate in music outside of the mainstream. That means low-cost rehearsal spaces, small open-minded venues (especially The 13th Note AKA West 13 but also Nice and Sleazy's and King Tut's Wah Wah Hut) where there are affordable, indeed sometimes non-existent door charges for shows.

The independent scene in Glasgow as I know it, (from 1993 onwards) has always reflected a DIY ethos: groups would often share equipment, cheap door prices were encouraged: the whole thing functioned on the back of open-mindedness and co-operation. Many groups would share members and today it is not uncommon for one person to be involved in several different projects. Glaswegians are enthusiastic about music and the fact that there are so many independent groups in this city reflects the fact that people here are willing to be challenged as well as entertained.

Many experimental bands from Europe and the States have visited this city bringing with them a myriad of styles and approaches to music. These groups only make it over here because there are a few enthusiastic people in this city willing to set up shows for small touring bands. Often local groups have the opportunity to open for these touring bands and therefore, both sides benefit from this equation, both the local and touring bands help to bring in the audience. At a grassroots level in underground music, those responsible for making events happen, I mean the people behind planning and arranging shows, are often humble and thankfully prioritise the chance to see and promote the bands they love over the whole business of commercial gain and profit from music.